The Word This Week
5-14
(Theme plays: Funky techno music)
♪
[ Caption: THE WORD THIS WEEK ]
Kim: ON THE WORD THIS WEEK, CRITICAL MASS: A FASCINATING AND INSIGHTFUL LOOK AT
THE WORLD OF THE FILM REVIEWER.
: EVERYBODY HAS AN OPINION ABOUT MOVIES. THEY'RE A DIME A DOZEN. EVERY PERSON
WHO SEES A MOVIE HAS AN OPINION ABOUT IT. WHAT MAKES A FILM CRITIC DIFFERENT?
THAT OPINION IS INFORMED.
: THE FIRST TIME I SAW VIVIEN LEIGH IN GONE WITH THE WIND, I THINK THAT-- AND I WAS
HOOKED. HER GREEN EYES IN TECHNICOLOR, THAT'S THE MOMENT. SO IT'S ALWAYS BEEN
AN EMOTIONAL CONNECTION BETWEEN ME AND THE CINEMA.
♪
[ Caption: KIM CLARKE CHAMPNISS ]
Kim: HELLO THERE AND WELCOME TO THE SHOW. I'M KIM CLARKE CHAMPNISS. THIS
WEEK WE TAKE A SPECIAL LOOK AT MOVIE REVIEWERS, THAT SPECIAL BREED OF CINOPHILES WHO UTILIZE WORDS TO DESCRIBE THE MAGIC OF THE SILVER SCREEN, AND IN
THE PROCESS ALLOW US TO UNDERSTAND WHAT MAKES A GREAT MOVIE GREAT.
(Dreamy instrumental music)
♪
[ Caption: CRITICAL MASS - THE CULTURE OF FILM CRITICS ]
[ Caption: "THE ROTATION OF A CHUBBY THUMB 180 DEGREES IS THE LEAST
IMPORTANT.. OF ALL THE DUTIES REQUIRED OF THE PROFESSIONAL CRITIC." - FILM
CRITIC ANTHONY LANE ]
[ Caption: ROBIN WOOD - CO-EDITOR, CINEACTION MAGAZINE ]
Robin: A REVIEWER IS IN THE IMPOSSIBLE POSITION OF HAVING TO LOOK AT HALF A
DOZEN MOSTLY LOUSY MOVIES EVERY WEEK AND WRITE SOMETHING ABOUT THEM. NOW,
A CRITIC IS NOT CONCERNED, I THINK, NECESSARILY WITH THE PRESENT AT ALL. TRUE
CRITICISM IS A MATTER OF CONSTANTLY RE-EVALUATING OR EVALUATING, UH,
SOMETIMES CONTEMPORARY FILMS, SOMETIMES FILMS FROM ALMOST 100 YEARS AGO.
[ Caption: DAVID EHRENSTEIN - AUTHOR, OPEN SECRET GUY HOLLYWOOD ]
David: TOO MUCH OF WHAT'S CONSIDERED FILM CRITICISM IS BASICALLY TASTE ADVICE.
[ Caption: CAMERON BAILEY - FILM CRITIC, NOW MAGAZINE ]
Cameron: SOMEWHERE ALONG THAT SPECTRUM IS THE MORE ACADEMIC KIND OF
WRITING, WHICH TENDS TO READ THE FILM.
[ Caption: JONATHAN ROSEBAUM - FILM CRITIC, CHICAGO READER ]
Jonathan: UNFORTUNATELY IN MOST ACADEMIC THINGS ARE JUST PEOPLE FILLING UP
PAGES AND PUTTING TOGETHER CVs AND NOT CONTRIBUTING ANYTHING OF ANY WORTH.
[ Caption: NICOLE ARRMOUR - CONTRIBUTING EDITOR, FILM COMMENT MAGAZINE ]
Nicole: ONE OF THE THINGS I REALLY LIKE ABOUT MOVIES IS HOW, UM, EGALITARIAN THEY
ARE. I LIKE THE FACT THAT IT'S SUCH A BROAD, GENERAL ART FORM THAT SO MANY
PEOPLE KNOW A LOT ABOUT. AND THE THING THAT I ALWAYS RESISTED ABOUT ACADEMIA
1
The Word This Week
5-14
IS THAT IT TAKES SOMETHING AND PUTS IT-- IT TAKES SOMETHING LIKE THAT AND
INTELLECTUALIZES IT AND PUTS IT IN AN IVORY TOWER.
Cameron: YOU KNOW, I THINK IF YOU WANT TO SURVIVE AS A FILM CRITIC, YOU HAVE TO
FIND A BALANCE BETWEEN THE PURE CONSUMER GUIDE APPROACH AND SOMETHING
THAT IS A LITTLE MORE RAREFIED. YOU CAN'T KEEP YOURSELF INTERESTED JUST PUTTING
YOUR THUMB UP AND DOWN EVERY WEEK. IT'S JUST IMPOSSIBLE, YOU KNOW. UM, SO I
THINK WHAT THE BEST CRITICS TRY TO DO, WHETHER IT'S PAULINE KAEL OR ANDREW
SARRIS, JIM HOBERMAN IN THE VILLAGE VOICE, JONATHAN ROSENBAUM, IS THEY TRY TO
BRING A PERSONAL LOOK-- A PERSONAL VIEW, A WAY OF LOOKING AT THE WORLD, UM, TO
THEIR WRITING.
(Pulsing techno music)
♪
[ Caption: "THE STRUGGLE FOR A NEW CRITICISM WAS BOUND TO THE SEARCH FOR
NEW CINEMA." - FILM SCHOLAR JIM HILLER ]
Jim: IF YOU GO BACK THROUGH THE HISTORY OF FILM CRITICISM, UM, FILM WAS INITIALLY
SOMETHING THAT IT WAS FELT ANYBODY COULD WRITE ABOUT. AND WHAT EDITORS WERE
LOOKING FOR WAS SOMEBODY WHO COULD WRITE IN A LIVELY, CHATTY, AMUSING WAY.
CRITICS LIKE JAMES AGEE, HE OFTEN WOULD EXPEND TWO OR THREE LINES ON
SOMETHING HE DIDN'T CARE FOR, AND THEN WRITE SEVERAL COLUMNS ON SOMETHING
THAT HE DID. ONE OF HIS MORE FAMOUS REVIEWS, I THINK, WAS THE MOVIE WAS CALLED
YOU WERE MEANT FOR ME. AND HIS REVIEW WAS, "THAT'S WHAT YOU THINK."
[ Caption: RICHARD SCHICKEL - FILM CRITIC, TIME MAGAZINE ]
Richard: IN THE LATE '60s AND EARLY '70s IN NEW YORK, UH, THE CHATTERING CLASSES
TOOK UP MOVIES. AND MOVIE REVIEWING, WHICH HAD BEEN, YOU KNOW, KIND OF IN THE
HANDS OF, (Laughs) I DON'T KNOW, FAILED JOURNALISTS, PEOPLE FOUND THAT LEVEL OF
REVIEWING, YOU KNOW, JUST WANTED SOMETHING MORE OUT OF MOVIE REVIEWING.
(Moody carnival music)
♪
[ Caption: THE MOST EXCITING FILM CRITICISM AT THAT TIME CAME OUT OF PARIS,
FRANCE. ]
[ Caption: THANS TO.... ]
[ Caption: FRENCH FILM CRITIC ANDRE BAZIN... ]
[ Caption: AND ACCLAIMED FILM MAGAZINE CAHIERS DU CINEMA ]
[ Caption: ANDREW SARRIS - FILM CRITIC, THE VILLAGE VOICE ]
Andrew: RICHARD ROUD, WHO WAS FIRST CHAIRMAN OF THE NEW YORK FILM FESTIVAL,
CAME OVER, AND HE WAS A FRANCOPHILE, AND HE TOLD US ALL ABOUT ANDRE BAZIN.
AND I BEGAN LISTENING TO WHAT BAZIN HAD SAID, AND READING BAZIN. AND, UM, AND I
READ FRENCH, AND I READ SOME ISSUES OF CAHIERS DU CINEMA.
(Upbeat jazzy pop music)
♪
[ Caption: (CAPTION PARTIALLY CONCEALED)-- OF THE CAHIER DU CINEMA BECAME
SOME OF THE MOST INFLUENTIAL FILMMAKERS OF THEIR TIME. ]
[ Caption: INCLUDING.. ]
[ Caption: JEAN-LUC GODARD & FRANCOIS TRUFFAUT ]
2
The Word This Week
5-14
Andrew: YOU KNOW, A LOT OF PEOPLE SAW TRUFFAUT AS VERY LOVEABLE DIRECTOR. HE
LOVED WOMEN, BLAH, BLAH, BLAH. NOW, HE WAS ONE OF THE MOST, UH,
ARGUMENTATIVE AND CONTROVERSIAL CRITICS. YOU KNOW, WHEREAS GODARD WHO HAS
THIS VERY CONTROVERSIAL ASPECT, WAS ONE OF THE MOST OPEN MINDED REVIEWERS.
THIS WAS A PARADOX.
(Speaking French)
[ Caption: JEAN LUC GODARD - FILMMAKER CRITIC ]
[ Caption: YES, BEING A CRITIC WAS GOOD EXPERIENCE. IT'S GOOD TRAINING. ]
[ Caption: DOESN'T IT RUN THE RISK OF STIFLING THE IMAGINATION? ]
[ Caption: NO. IT MADE ME LOVE EVERYTHING. ]
[ Caption: IT TAUGHT ME NOT TO BE NARROW-MINDED. ]
Robin: IT WAS FROM THEM, I THINK, THAT I BEGAN TO THINK SERIOUSLY ABOUT NOT ONLY
HITCHCOCK BUT ALSO PEOPLE LIKE HAWKS, UM, McCAREY, NICHOLAS RAY, ANTHONY
MANN AND SO ON, BECAUSE I COULD SEE FROM THEIR REVIEWS THAT THEY TOOK THINGS
VERY, VERY SERIOUSLY.
[ Caption: ANDREW SARRIS - FILM CRITIC, THE VILLAGE VOICE ]
Andrew: CAHIERS DU CINEMA CAME OUT WITH A-- WITH A SPECIAL ISSUE ON AMERICAN
DIRECTORS WHERE THEY HAD LITTLE BOXES WITH THEIR PICTURES AND LITTLE
COMMENTS THEY MADE. AND THAT WAS THE THING THAT I DECIDED TO WRITE NOTES ON
THE AUTEUR THEORY IN 1962.
(Sultry dance music)
♪
[ Caption: (CAPTION PARTIALLY CONCEALED)-- THAT A STRONG DIRECTOR, OR AUTEUR,
STAMPS HIS MATERIAL WITH A PERSONAL VISION. ]
[ Caption: THIS VISION, OR "SIGNATURE" CAN BE DISCERNED IN THE AUTEUR'S BODY OF
WORK. ]
[ Caption: GENTLEMEN PREFER BLONDES - COURTESY OF FOX VIDEO ]
Robin: WHEN I WAS AT UNIVERSITY, I FIGURED THAT I HAD SEEN ABOUT FIVE OF HOWARD
HAWKS' FILMS OVER MY THREE OR FOUR YEARS. THE THING FROM ANOTHER WORLD,
GENTLEMEN PREFER BLONDES, RED RIVER, MONKEY BUSINESS, AND I HAD NEVER NOTICED
THE NAME OF THE FILMMAKER. I DIDN'T REALIZE THAT THEY WERE ALL THE WORK OF THE
SAME PERSON. CAHIERS HELPED ME TO PUT THEM ALL TOGETHER AND TO MAKE
CONNECTIONS.
Richard: IT'S A VERY EASY CONCEPT, AUTHORSHIP FOR PEOPLE TO GET HOLD OF. YOU
KNOW, THERE'S A KIND OF MAGIC, KIND OF ALMOST MYSTICISM ABOUT THE AUTHOR. YOU
KNOW, NINE-TENTHS OF THE DIRECTORS ARE NOT AUTEURS. I MEAN, THEY'RE BASICALLY- YOU KNOW, THEY MAY BE HIGHLY SKILLED AT, LET'S SAY, STAGING ACTION OR
SOMETHING, BUT THEY'RE NOT AUTHORS.
Cameron: BUT FOR ME, THAT'S ONLY ONE CHOICE, YOU KNOW. THE AUTEUR THEORY IS
SOMETHING THAT EXISTED IN A CERTAIN PERIOD OF TIME, AND A LOT OF CRITICS TAKE IT
AS GOSPEL NOW. BUT IT DOESN'T HAVE TO BE.
[ Caption: STEPHEN FARBER - AUTHOR, HOLLYWOOD DYNASTIES ]
3
The Word This Week
5-14
Stephen: THERE ARE SO MANY PEOPLE INVOLVED IN THE CREATION OF A MOVIE. I'M NOT
SO MUCH OF AN AUTEURIST AS SOME PEOPLE, AND I TEND TO THINK THAT DIFFERENT-- A
LOT OF DIFFERENT PEOPLE CONTRIBUTE TO MOVIES, INCLUDING SORT OF INDUSTRY
FORCES. SO THAT THERE SOMETIMES WILL BE A LITTLE BIT OF A LARGER SOCIAL FABRIC
THAT HAS TO BE CONSIDERED IN A MOVIE. IT'S NOT JUST THE PERSONAL OBSESSIONS OF
THE ARTIST.
(Typewriter dings)
Kim: COMING UP, THE HEPBURN AND TRACY OF FILM CRITICISM.
Andrew: I'LL SAY THIS FOR PAULINE: I THINK HER LASTING THING IS SHE BROUGHT SEX
INTO FILM CRITICISM.
[ Caption: THE WORD THIS WEEK ]
(Theme plays: Funky techno music)
[ BREAK ]
(Theme plays: Funky techno music)
[ Caption: THE WORD THIS WEEK ]
(Elegant instrumental music)
♪
[ Caption: CRITICAL MASS - THE CULTURE OF FILM CRITICS ]
[ Caption: "FILM LOVERS ARE SICK PEOPLE." - CRITIC/ DIRECTOR FRANCOIS TRUFFANT
]
[ Caption: JONATHAN ROSEBAUM - FILM CRITIC, CHICAGO READER ]
Jonathan: I GREW UP IN A SMALL TOWN IN ALABAMA WHERE MY GRANDFATHER RAN A
SMALL CHAIN OF MOVIE THEATRES, AND MY FATHER WORKED FOR HIM. SO I COULD SEE
PRACTICALLY ALL THE MOVIES IN TOWN FOR FREE.
[ Caption: DAVID EHRENSTEIN - AUTHOR, OPEN SECRET GUY HOLLYWOOD ]
David: MY PASSION FOR FILM BEGAN IN 1952, WHEN MY MOTHER TOOK ME TO THE RADIO
CITY MUSIC HALL TO SEE SOMETHING CALLED SINGING IN THE RAIN. OF COURSE, IT'S BEEN
DOWNHILL EVER SINCE.
[ Caption: SINGING IN THE RAIN - COURTESY OF MGM/UA ]
♪ COME ON WITH THE RAIN ♪
♪ I'VE A SMILE ON MY FACE ♪
[ Caption: NICOLE ARRMOUR - CONTRIBUTING EDITOR, FILM COMMENT MAGAZINE ]
Nicole: I USED TO BE REALLY INTO MUSICALS WHEN I WAS A CHILD, AND I WAS
PARTICULARLY INTO SHIRLEY TEMPLE FILMS AND, UM, LOTS OF THE SORT OF MIDCENTURY MGM MUSICAL.
[ Caption: ROBIN WOOD - CO-EDITOR, CINEACTION MAGAZINE ]
Robin: I GOT A JOB WEEDING BABY FIR TREES; TERRIBLY BORING. I'D JUST SEEN PSYCHO.
I PASSED THE TIME WEEDING THE BABY FIR TREES BY PLAYING PSYCHO OVER AND OVER
AGAIN IN MY HEAD. IT MADE SUCH AN IMPRESSION ON ME, I REALLY THINK I COULD
REMEMBER IT ALMOST SHOT BY SHOT AFTER ONE VIEWING.
4
The Word This Week
5-14
(Piercing orchestral music)
(Screaming)
♪
[ Caption: PSYCHO - COURTESY OF PARAMOUNT PICTURES ]
Nicole: AND THEN I CAME HOME AND WROTE AN ARTICLE ON IT, MUCH TO MY AMAZEMENT.
I NEVER THOUGHT OF DOING THIS BEFORE SERIOUSLY. AND I SENT IT TO THE EDITOR OF
SIGHT AND SOUND, THE BIG BRITISH MAGAZINE OF THE TIME. I GOT A QUITE FRIENDLY
LETTER BACK FROM THE EDITOR. I REMEMBER PENELOPE HOUSTON SAYING, UM, SHE
WAS SORRY THEY COULDN'T POSSIBLY PUBLISH THIS ARTICLE BECAUSE I HADN'T
UNDERSTOOD THE FILM AT ALL. IT'S ONE OF HITCHCOCK'S JOKES. I WAS SO ANGRY
(Laughs) THAT I IMMEDIATELY SENT THE ARTICLE TO CAHIERS DU CINEMA IN FRANCE, AND
TO MY AMAZEMENT THEY ACCEPTED IT AND PUBLISHED IT IN THE FRENCH TRANSLATION
AS THEIR LEAD ARTICLE. AND SO EVERYBODY SUDDENLY WANTED ME TO WRITE ARTICLES
FOR THEM.
(Ethereal instrumental music)
♪
[ Caption: "THE CRITIC IS THE ONLY INDEPENDENT SOURCE OF INFORMATION. THE
REST IS ADVERTISING." - FILM CRITIC PAULINE KAEL ]
[ Caption: CAMERON BAILEY - FILM CRITIC, NOW MAGAZINE ]
Cameron: PAULINE KAEL WROTE ABOUT FILM IN DETAIL, BUT REALLY SHE WAS WRITING
ABOUT HER EXPERIENCE OF THE WORLD.
[ Caption: MARTIN KNELMAN - FILM COLUMNIST, TORONTO STAR ]
Martin: HER WRITING WAS, I THINK, SORT OF DARINGLY PERSONAL. SHE DEALT VERY
FULLY AND OPENLY WITH HOW SHE PERSONALLY REACTED TO MOVIES. SHE STARTED
WITH WHO SHE WAS AND WHAT THAT MOVIE MEANT TO HER.
Jonathan: KAEL HAD, AT AN EARLIER STAGE, TAUGHT ME THINGS ABOUT WRITING, NOT
ABOUT FILM. THERE'S WRITING THAT'S ANALYTICAL AND THERE'S WRITING THAT'S NOT,
AND I WOULD CLASSIFY KAEL MORE AMONG THE WRITING THAT'S NOT ANALYTICAL THAN
THE WRITING THAT IS.
[ Caption: ANDREW SARRIS - FILM CRITIC, THE VILLAGE VOICE ]
[ Caption: LOST TANGO IN PARIS - COURTESY OF UNITED ARTISTS ]
Andrew: I'LL SAY THIS FOR PAULINE: I THINK HER LASTING THING IS SHE BROUGHT SEX
INTO FILM CRITICISM. YOU KNOW, BEFORE SHE CAME ALONG, PEOPLE WOULD SAY, "OH--"
YOU KNOW, THEY'D PULL THEIR HANDS BACK FROM ANYTHING REALLY OUTRÉ OR SEXY OR
SHOCKING OR ANYTHING.
(Gasping)
[ Caption: "THIS MUST BE THE MOST POWERFULLY EROTIC MOVIE EVER MADE..." ]
[ Caption: (CAPTION PARTIALLY CONCEALED)-- IT'S PROBABLY ONLY NATURAL THAT AN
AUDIENCE, ANTICIPATING A VOLUPTUOUS FEAST FROM THE MAN WHO MADE THE
CONFORMIST..." ]
[ Caption: "AND CONFRONTED WITH THIS UNEXPECTED SEXUALITY, SHOULD GO INTO
SHOCK." - PAULINE KAEL ]
5
The Word This Week
5-14
Martin: THE CITIZEN KANE BOOK IS ONE OF THE BEST THINGS SHE EVER DID. HER
UNDERSTANDING OF WHAT HERMAN MANKIEWICZ, WHO WAS THE FORGOTTEN GUY WHO'D
BEEN A NEWSPAPER MAN, UH, WHO WROTE-- WHO KNEW HEARST AND MARION DAVIES
AND WHO WROTE THE SCRIPT, AND WHOSE MEMORY WAS SORT OF OBLITERATED BY ALL
THE ADULATION OF ORSON WELLES, SHE REALLY CAPTURED WHO SHE WAS, WHAT HE
REPRESENTED IN THE MOVIE. THAT'S A STORY THAT WOULD NEVER BE TOLD BY THE
BORING ACADEMIC, UM, AUTEURIST CRITICS.
(Pulsing electronic music)
♪
[ Caption: PAULINE KAEL STRONGLY DISAGREED WITH THE IDEA OF THE 'AUTEUR'
THEORY. ]
[ Caption: THIS LED TO A WAR-OF-WORDS WITH FELLOW CRITIC ANDREW SARRIS. ]
Andrew: SHE THOUGHT I SHOULD BE GRATEFUL TO HER FOR HER CRITICISM, WHICH
SHOWED ME THE ERROR OF MY WAYS, YOU KNOW, THAT KIND OF THING. AND ACTUALLY
MY FIRST MEETING WITH PAULINE KAEL WAS VERY WEIRD.
♪
[ Caption: KAEL AND SARRIS WERE ONCE DUBBED IN THE PRESS AS THE 'HEPBURN AND
TRACY OF FILM CRITICISM.' ]
[ Caption: WOMAN OF THE YEAR - COURTESY OF MGM ]
Andrew: FROM WHAT-- HOW SHE WROTE, I THOUGHT SHE'D BE LIKE GLORIA STEINEM, YOU
KNOW, A REAL BABE-- OR MARY McCARTHY. YOU KNOW, SOMEBODY WHO'S VERY SEXY
AND VERY-- WHO KNOWS? AND IT WOULD BE LIKE THE SCENE IN WOMAN OF THE YEAR
WHERE TRACY GOES INTO THE OFFICE AND SHE'S ADJUSTING HER STOCKING, YOU KNOW.
THAT'S HIS FIRST GLIMPSE OF HER, AND FROM THEN ON, HE'S HOOKED, THAT KIND OF
THING. WELL, SHE WAS NO KATHERINE. BUT AS A FRIEND OF MINE, MARION MEGGETT-THE LATE MARION MEGGETT WHO USED TO EDIT COMMENTARY MAGAZINE, SAID, (Growling)
"WELL, YOU ARE NO SPENCER TRACY EITHER, YOU KNOW."
♪
[ Caption: "THE PERSONAL IS POLITICAL." - ATTRIBUTED TO FEMINIST THEORIST CAROL
HANNISH ]
[ Caption: DAVID EHRENSTEIN - AUTHOR, OPEN SECRET GUY HOLLYWOOD ]
David: EVEN THE MOST STRAIGHTFORWARD, MUNDANE NARRATIVE FILM PUTS PEOPLE
AND EVENTS UP ON THE SCREEN, AND THEN BRINGS US CLOSE TO THEM AND THEN
MOVES US AWAY, AND BRINGS US CLOSE AND MOVES US AWAY IN ALL SORTS OF
DIFFERENT WAYS SO THAT THERE ARE, UH, ALWAYS MULTIPLE POINTS OF ENTRY.
Cameron: YOU KNOW, THERE ARE TIMES WHEN I'LL APPROACH A FILM FROM THE
PERSPECTIVE OF ITS POLITICS AS I SEE THEM, AND I'LL GET BASHED FOR IT, YOU KNOW,
'CAUSE A READER WILL SAY, "THAT HAS NOTHING TO DO WITH IT. IT'S ONLY A MOVIE."
THERE'S ALWAYS THAT PHRASE THAT COMES OUT, "IT'S ONLY A MOVIE." THE WAY I SEE IT,
IT'S NEVER ONLY A MOVIE. IT'S ALWAYS A MOVIE THAT'S ABOUT SOMETHING, AND IT'S A
MOVIE THAT EXISTS FOR REASONS. YOU KNOW, IT'S INTERESTING WHEN STEVEN
SPIELBERG MAKES A FILM LIKE WAR OF THE WORLDS THAT SAYS TO ME SO MUCH ABOUT
AMERICAN ANXIETY IN THE WAKE OF 9/11. TO ME, THAT'S ALL THAT IT'S ABOUT, AND I
THINK SPIELBERG IS QUITE CONSCIOUS OF THAT. SO MY REVIEW OF THAT FILM STARTS
THERE.
[ Caption: WAR OF THE WORLDS - COURTESY OF DREAMWORKS ]
6
The Word This Week
5-14
Man: LET'S GO. LISTEN, I WANT YOU TO CLOSE YOUR EYES, OKAY?
Girl: OKAY.
Man: GOT THEM CLOSED? THERE YOU GO. KEEP THEM CLOSED FOR ME.
David: WHEN I WAS FIRST WRITING ABOUT EXPERIMENTAL FILM, OF COURSE I WAS
WRITING ABOUT IT AS A GAY MAN IN THAT THERE WAS-- WERE ALL THESE GAY
FILMMAKERS IN THE WORLD OF EXPERIMENTAL FILM.
Cameron: I SAW THE LARS VON TRIER FILM, THE NEW ONE, MANDERLAY. AND THIS ONE'S
SET IN PLANTATION SOUTH, AND VERY MUCH A STORY-- AN ALLEGORY ABOUT AMERICAN
SLAVERY. THAT FILM REALLY PISSED ME OFF. I FELT IT WAS SO MISGUIDED. I FELT IT
COMPLETELY MISUNDERSTOOD WHAT SLAVERY WAS AND WAS USING IT AS THE MOST
TRIVIAL METAPHOR FOR SOMETHING THAT WAS IMPORTANT TO LARS VON TRIER. AND HE
FAMOUSLY HAS NEVER BEEN TO THE U.S., BUT MORE IMPORTANTLY THAN THAT, I THINK
HE JUST DIDN'T UNDERSTAND THE ROLE THAT SLAVERY PLAYED IN AMERICA, AND DIDN'T
UNDERSTAND WHAT IT MEANT TO AFRICAN AMERICANS.
[ Caption: MANDERLAY - COURTESY OF IFC FILMS ]
Man: AND WHAT DO YOU THINK THOSE NEGROES IN THERE ARE? HOW MANY
GENERATIONS DO YOU THINK THOSE FAMILIES MADE THEIR HOMES BEHIND THAT FENCE?
Cameron: UH, I CAME OUT OF THE SCREENING JUST INCENSED. AND I BEGAN TALKING TO
OTHER CRITICS, AND THE EUROPEAN CRITICS FOR THE MOST PART WERE ON SIDE WITH
LARS VON TRIER. AND SOME OF THE AMERICAN CRITICS HAD THE KNEE-JERK REACTION,
WHICH WAS, "LARS VON TRIER DOESN'T UNDERSTAND AMERICA." BUT VERY FEW PEOPLE
UNDERSTOOD IT IN THE WAY THAT I DID, AND I THINK THAT HAD A LOT TO DO WITH THE
FACT THAT I'M BLACK. AND NOT JUST THAT, BUT I AM INFORMED BY BLACK
UNDERSTANDING OF CULTURE, INCLUDING THE CULTURE OF SLAVERY IN AMERICA.
Kim: UP NEXT, WHAT MAKES A CLASSIC?
Richard: IF YOU WERE TO ASK ME RIGHT NOW, I'D SAY, "SURE, PULP FICTION WILL
CERTAINLY BE IN THE CANON 30, 40 YEARS FROM NOW," SOMETHING LIKE THAT. BUT I'M
NOT SURE IT WILL.
[ Caption: THE WORD THIS WEEK ]
(Theme plays: Funky techno music)
[ BREAK ]
(Theme plays: Funky techno music)
[ Caption: THE WORD THIS WEEK ]
(Moody techno pop music)
♪
[ Caption: CRITICAL MASS - THE CULTURE OF FILM CRITICS ]
[ Caption: "A FILM CAN NOT BE CANONIZED UNLESS IT IS SEEN FREQUENTLY,
CONTINUOUSLY, AND OVER A SUSTAINED PERIOD OF TIME." - WRITER/ ESSAYIST
DONATO TOTARO. ]
[ Caption: RICHARD SCHICKEL - FILM CRITIC, TIME MAGAZINE ]
Richard: THE CANON SHIFTS GENERATIONALLY. IF YOU TAKE THE SIGHT & SOUND LIST,
YOU KNOW, EVERY DECADE THEY LIST THE 10 BEST MOVIES OF ALL TIME. WELL, WHEN
7
The Word This Week
5-14
THAT STARTED, I MEAN, IT WAS HEAVILY WEIGHTED TOWARD SILENT MOVIES. YOU KNOW,
SIX OR SEVEN OR EIGHT OF THEM WOULD BE SILENT MOVIES. NOWADAYS NONE OF THEM
ARE SILENT MOVIES, BECAUSE THE GENERATION THAT WAS JUST KNOCKED OUT BY
SILENT MOVIES, THEY'RE ALL DEAD.
[ Caption: LAWRENCE OF ARABIA - COURTESY OF COLUMBIA PICTURES ]
[ Caption: STEPHEN FARBER - AUTHOR, HOLLYWOOD DYNASTIES ]
Stephen: LAWRENCE OF ARABIA IS A MOVIE THAT'S GONE THROUGH VERY INTERESTING
EVOLUTION IN THAT REGARD. WHEN IT CAME OUT IN 1962, IT WAS VERY MUCH ADMIRED;
IT WON THE ACADEMY AWARD. BUT THEN ITS REPUTATION REALLY FELL OVER THE NEXT
PERIOD OF YEARS. IN 1972, SIGHT & SOUND HAD A POLL OF CRITICS PICKING THE BEST
MOVIES OF ALL TIME. I WAS THE ONLY PERSON WHO MENTIONED IT. THEN IT WAS LIKE RERELEASED AND RESTORED IN 1989, AND SUDDENLY ALL THESE CRITICS, YOU KNOW, CAME
AROUND AND WERE WRITING ARTICLES ABOUT HOW, "OH, THIS IS ONE OF THE GREATEST
MOVIES OF ALL TIME."
[ Caption: JONATHAN ROSEBAUM - FILM CRITIC, CHICAGO READER ]
Jonathan: I BELIEVE IN CANONS. I DON'T THINK THERE'S ANY ONE. I BELIEVE PEOPLE
SHOULD HAVE THEIR OWN. AND THE LAST THING IN MY BOOK, MY NEW BOOK-- WHICH IS A
COLLECTION, IS A LIST OF MY 1,000 FAVOURITE FILMS. I'VE BEEN PROVEN RIGHT BECAUSE
EVEN WITHOUT MY NOT DOING ANYTHING, THE BOOK'S ONLY BEEN OUT A FEW MONTHS,
VARIOUS PEOPLE IN BLOGS AND CHAT GROUPS HAVE ACTUALLY COPIED OUT MY LIST OF
1,000 FAVOURITE FILMS. IT'S ALREADY ON THE INTERNET.
[ Caption: DAVID EHRENSTEIN - AUTHOR, OPEN SECRET GUY HOLLYWOOD ]
[ Caption: CITIZEN KANE - COURTESY OF WARNERS HOME VIDEO ]
David: IT'S USEFUL TO THE DEGREE THAT I THINK THERE ARE CERTAIN FILMS THAT IF
YOU'RE SERIOUSLY INTERESTED IN FILM, YOU BETTER DAMN WELL KNOW THEM. YOU
DON'T NECESSARILY HAVE TO LIKE THEM ALL THAT MUCH. IF YOU DON'T KNOW CITIZEN
KANE, IF YOU DON'T KNOW CHAPLIN'S WORK, IF YOU DON'T KNOW RENOIR, IF YOU HAVEN'T
BEEN EXPOSED TO OZU, YOU'RE IN TROUBLE.
[ Caption: PULP FICTION - COURTESY OF MIRAMAX ]
Man: WE'RE ALL GOING TO BE LIKE THREE LITTLE FONZIE'S HERE, AND WHAT'S FONZIE
LIKE? (Yelling) COME ON, YOLANDA, WHAT'S FONZIE LIKE?
Yolanda: (Weakly) COOL?
Man: WHAT?
Yolanda: COOL.
Man: CORRECT-A-MUNDO!
[ Caption: RICHARD SCHICKEL - FILM CRITIC, TIME MAGAZINE ]
Richard: IF YOU WERE TO ASK ME RIGHT NOW, I'D SAY, "SURE, PULP FICTION WILL
CERTAINLY BE IN THE CANON 30, 40 YEARS FROM NOW, OR FARGO," SOMETHING LIKE
THAT. BUT I'M NOT SURE IT WILL. I MEAN, WHO KNOWS? YOU KNOW, THOSE MAY BE
WORKS OF THEIR MOMENT. UH, SO I'M ALMOST A LITTLE HESITANT TO MAKE ULTIMATE
JUDGEMENTS. IN FACT, ONE OF THE THINGS I THINK I LIKE BEST ABOUT BEING A
REVIEWER IS YOU LIVE IN THE GREY AREA. YOU DO NOT LIVE IN BLACK AND WHITE.
[ Caption: ALFRED HITCHCOCK PRESENTS - COURTESY OF MCA ]
8
The Word This Week
5-14
[ Caption: THE BIRDS - COURTESY OF MCA ]
Stephen: HITCHCOCK IS A PERFECT EXAMPLE OF SOMEONE WHO, FOR A LONG TIME, WAS
VERY POPULAR BUT NOT TAKEN VERY SERIOUSLY. AND PEOPLE DID NOT PUT HITCHCOCK'S
MOVIES AMONG THE GREATEST MOVIES OF ALL TIME. AND THAT'S BEEN A COMPLETE REEVALUATION THROUGH THE INFLUENCE OF CERTAIN AUTEURIST CRITICS AND CERTAIN
EVEN MORE ACADEMIC CRITICS THAT HAVE, I THINK, RIGHTLY SEEN A LOT OF THE
BRILLIANCE OF HITCHCOCK MOVIES.
[ Caption: ROBIN WOOD - CO-EDITOR, CINEACTION MAGAZINE ]
Robin: AND WHAT IS OBVIOUSLY THE CENTRAL THING IS THE WHOLE PROBLEM OF
MALE/FEMALE RELATIONS IN A, UM, SEXIST WORLD, WHICH HITCHCOCK TREATS IN SUCH
A COMPLEX WAY.
[ Caption: VERTIGO - COURTESY OF MCA ]
Man: LET ME TAKE CARE OF YOU, JUDY.
(Soft romantic music)
Judy: THANKS VERY MUCH, BUT NO THANKS.
[ Caption: NORTH BY NORTHEAST - COURTESY OF MCA ]
[ Caption: ANDREW SARRIS - FILM CRITIC, THE VILLAGE VOICE ]
Andrew: I FIND THAT HIS MOVIES I CAN SEE OVER AND OVER AGAIN AND NEVER GET TIRED
OF THEM. AND I CHALLENGE PEOPLE WHO HAVE OTHER-- LAWRENCE OF ARABIA, OR
BETTER, OR WHATEVER THEY THINK IS THE GREATEST. I CHALLENGE THEM TO SEE IT 20
TIMES AND TO LIKE IT. I DOUBT THAT ANYONE HAS EVER SEEN LAWRENCE OF ARABIA 20
TIMES.
(Delicate music box music)
♪
[ Caption: "HOLLYWOOD WAS BORN SCHIZOPHRENIC..." AN INDUSTRY AND AN ART
FORM." - FILM CRITIC RICHARD CORLISS ]
Jonathan: IN THE UNITED STATES, THERE'S A GENUINE HATRED OF ART. YOU CAN SAY IN
OTHER CULTURES THE PEOPLE ARE MORE OR LESS INTERESTED IN ART, BUT THERE'S A
REAL HATRED. AND THAT'S WHY, WHAT'S THE MOST POPULAR THING PEOPLE SAY ABOUT
MOVIES? "IT'S ONLY A MOVIE." YOU KNOW, I DON'T THINK ANYBODY WOULD EVER SAY, "IT'S
ONLY A BALLET. IT'S ONLY A PAINTING. IT'S ONLY A NOVEL. IT'S ONLY--" YOU KNOW, OF ANY
OTHER ART FORM.
[ Caption: NICOLE ARRMOUR - CONTRIBUTING EDITOR, FILM COMMENT MAGAZINE ]
Nicole: I'VE BECOME REALLY DISSATISFIED WITH HOW REALLY CONNECTED MOVIE
WRITING IS TO, UM, COMMERCE, AND UH, THE IDEA THAT THE ROLE OF A FILM CRITIC IS
JUST TO SELL SOMETHING FOR SOMEBODY ELSE.
Richard: WE LOOK AT MOVIES DIFFERENT THAN THE PUBLIC DOES, AND WE'RE LIKELY TO
ZERO IN ON SOME, YOU KNOW, STUFF THAT THE PUBLIC I THINK WOULD ENJOY IF THEY
COULD SEE IT. BUT, YOU KNOW, THEY'RE KIND OF LOCKED INTO THE MAINSTREAM AND
CURRENT RELEASES AND ALL THAT STUFF.
Robin: ALL THAT PEOPLE ARE TAUGHT TO WANT NOWADAYS IS WHAT IS HAPPENING NOW.
THE LATEST FASHION, THE LATEST CLOTHES, THE LATEST FILMS. SO WHAT INTEREST IS
THERE IN A FILM MADE 50 YEARS AGO? DOESN'T MATTER ANYMORE. IT'S ALL GONE.
9
The Word This Week
5-14
(Sultry jazz music)
♪
[ Caption: "WORDS CAN STING LIKE ANYTHING BUT SILENCE BREAKS THE HEART." POET/ AUTHOR PHYLLIS McGINLEY ]
Andrew: I'M STILL WORKING ON THAT CENTRAL QUESTION, WHAT MAKES A GOOD FILM.
[ Caption: CAMERON BAILEY - FILM CRITIC, NOW MAGAZINE ]
Cameron: YOU KNOW, IN A WAY, THE CRITERION FOR JUDGING A FILM FOR ME IS REALLY
SIMPLE: WHAT IS IT TRYING TO DO? DOES IT DO IT? YOU CAN JUDGE ANY FILM ON THAT.
Jonathan: WHEN I INTERVIEWED GODARD HERE IN TORONTO, HE SAID, "I'D LIKE TO BE
REGARDED AS AN AIRPLANE, NOT AS AN AIRPORT." AND WHAT I THINK HE MEANT BY THAT
IS, "PEOPLE SHOULD TAKE ME WHERE THEY WANT TO GET-- WHERE THEY WANT TO GO,
AND THEN GET OFF." THAT'S THE WAY I FEEL. SO IN OTHER WORDS, IF PEOPLE CAN USE
ME AS PART OF THEIR OWN PROJECTS, EVEN IF IT'S NOT MY PROJECT, THAT'S FINE, YOU
KNOW. I DON'T WANT TO DICTATE HOW I'M USED.
Andrew: PEOPLE SAY, "OH, WE HAD NEO REALISM, WE HAVE THE NOUVELLE VOGUE."
THESE ARE JOURNALISTIC CONVENIENCES. WHAT I PREFER IS WHAT CHABROL HAS
ALWAYS SAID: "THERE ARE NO WAVES, NEW OR OTHERWISE. THERE'S ONLY THE OCEAN."
(Dreamy instrumental music)
♪
[ Caption: www.booktelevision.com ]
Kim: THAT'S OUR SHOW, EVERYBODY. HOPE YOU ENJOYED IT. DON'T FORGET TO GO TO
OUR WEBSITE, booktelevision.com. CHECK OUT OUR ASSIGNED BOOK OF THE WEEK. GIVE
US YOUR FEEDBACK. 'TIL NEXT TIME, I'M K.C.C.
(Theme plays: Funky techno music)
♪
[ CREDITS ]
(Closed captions created by Bravo!)
10